hundred competitors, for a special project run jointly by the University Religious Conference and the Ford Foundation 5 to combat the negative image of America in India. It was called, simply, “Project India.” Beginning in 1952, Project India sent twelve students of diverse ethnic, cultural, and religious backgrounds for nine summer weeks to India, “I’M NOT WALT DISNEY meeting college students, living with their hosts in villages and cities, and hopefully making friends for America. It was ANYMORE!” a kind of precursor to the Peace Corps, which began in the early 1960s. In 1955 I truly felt that I had earned the right to be the second Jewish student selected—to join my friend Sandy Ragins, who later became a rabbi. But I was not chosen, and I wished the ambassadors well as they prepared to depart for India. Less than a week later, I received a call at the ZBT fra- ternity house. It was that “Las Vegas dealer,” Card Walker, At the end of 1965, Walt celebrated his sixty-fourth birthday, asking if I could come to the Walt Disney Studio for the and Roy O. Disney, age seventy-two, began to plan for his interview that would change my life. Surely that trip to India own retirement. The presumptive future CEO, Card Walker, would never have had such a lifelong effect. called me and the Studio’s graphics leader, Bob Moore, to his office. “We have to let the media, our fans, and the enter- tainment industry know that as great a talent as Walt is, he’s not the only creative person at Disney,” Card told us. “Let’s use the annual report to start the dialogue.” Bob Moore and I were good soldiers. With Card’s direc- tion, we identified the company’s top creative talent, and developed a plan to photograph them at work on their current projects. Some of the pictures would be with Walt, some without. There was Bill Walsh, Don DaGradi, and Bob Stevenson—the Mary Poppins team—in live-action films; Dick and Bob Sherman, the Academy Award–winning 30 31 songwriters; the “Nine Old Men” in Disney animation— Bob Thomas’s Walt Disney: An American Original) to the all were still working, although Marc Davis had moved to twenty-first century (Harrison Price’s 2003 Walt’s Revolution! Imagineering; and John Hench, Claude Coats, and Davis By the Numbers and Neal Gabler’s 2006 Walt Disney—the at Imagineering. The photographs told the story, and soon, Triumph of the American Imagination, the latter a “triumph” with Bob Moore’s page layouts and my captions identifying in 851 pages that was not well received by the Walt Disney the talent, we accompanied Card to review the concept with family). Walt. He listened patiently—and said, “No.” While everything worth knowing about Walt Disney hasn’t “Look,” Walt told us, “I don’t want people to say ‘that’s been written, I’m going to tell only personal stories—that is, a Bill Walsh production for Disney,’ or ‘that’s a John Hench those experienced directly by me or my peers. Most of these design for Disneyland.’ I’ve spent my whole life building the stories have never appeared in print. But I can’t help starting image of entertainment and product by Walt Disney. Now with several of my favorite Walt stories told to me by those Walt Disney is a thing, an image, an expectation by our fans. who were there, illustrating his multidimensional character: It’s all Walt Disney—we all think alike in the ultimate pattern. I’m not Walt Disney anymore.” • One of the first Disney traveling art exhibits, “The Art of In the end, the pictures still told the story in the annual Animation,” was about to open in Denver, Colorado. Walt report. Walt okayed the images and caption copy identify- attended the opening, but arrived in Denver the night ing the Disney project only. No names were used; no indi- before for a final check of the exhibit. At breakfast the viduals were identified or credited in the photos. We all got next morning, he joined the installation team, which had the message. already ordered their food. Walt made his choice; before In thinking about this portion of the book, I realized that the waitress could leave the table, all four of the instal- few people in the entertainment world have been written lation team, one by one, changed his order with a “that about as frequently as Walt Disney. I asked Richard Benefield, sounds good, I’ll have that too!” comment. Now there then executive director of the extraordinary Walt Disney were five identical breakfast orders. “So,” Walt said, “it’s Family Museum in San Francisco, and Becky Cline, director going to be one of those days!” And he was gone. of the Walt Disney Archives at The Walt Disney Company, to • A Disney Studio television producer was unhappy because provide the number of biographies they believe have been Walt did not consider him to be “creative.” Determined to written about Walt. Despite his death more than forty years change Walt’s view, and recalling Walt’s own handiwork on ago, the number seemingly expands like the Flubber in his his backyard trains and miniatures built in the workshop barn 1961 film The Absent-Minded Professor; they estimate the at his Holmby Hills home, the producer spent weeks making biographies at fifty-two, ranging from the 1950s, 1960s, and a model to show Walt. He arrived early one morning and set 1970s (Diane Disney Miller’s The Story of Walt Disney and up his work in Walt’s outer office, insisting that Walt view his 32 33.